A HEADTEACHER who faced a massive backlash for apparently blaming the Bangladeshi community for rising coronavirus infections is stepping down.
Karen Todd, the headteacher of Richard Avenue Primary School in Sunderland for 18 years, said she would retire on August 31, a MailOnline report said.
Her letter to schoolchildren’s parents in November last year suggested some members of the Bangladeshi community working as “taxi drivers or waiters at restaurants” acted irresponsibly and risked the spread of the virus.
Todd said in the letter, “I apologise, for those Bangladeshi families receiving this letter, who are like myself, trying to do the right thing. But I felt it was important for us as a whole community to be open and honest with each other.
“I ask myself, how many of those adults who are currently testing positive, or awaiting results, having acted irresponsibly; Have sent their children to school? Who are working as a taxi driver? In a restaurant or takeaway?
“This virus is highly contagious, significantly impacts more on the BAME community and can kill. I feel many people need to wake up, take responsibility and change their behaviour.”
She had accused the community of attending weddings at home and “hosting Mehndi nights against the law”.
As the controversial letter triggered outrage with the community’s leaders calling out the “stereotype”, she apologised but insisted it was “never my intention”.
A petition seeking an investigation and her ouster said, “we find the language and tone of the letter harassing, offensive, derogatory and humiliating, with the racist stereotyping of a whole community completely intolerable.”
As the controversy raged, Todd stayed away from her school for five months but returned in May.
In her letter sent to schoolchildren's parents this month, she said she was retiring from her job with “a heavy heart”.
“I have always loved my job. It has been an honour and a privilege to hold such a position and work alongside such amazing children and staff,” she said in the letter”.
Together for Children, the company that delivers children's services on behalf of Sunderland City Council, confirmed Todd's departure and said the board of governors will now begin the process to appoint her replacement, the MailOnline report said.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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